IMDb > The Pirate (1948)
The Pirate
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The Pirate (1948) More at IMDbPro »

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Overview

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7.1/10   2,802 votes »
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Director:
Writers:
Albert Hackett (screenplay) and
Frances Goodrich (screenplay) ...
(more)
Contact:
View company contact information for The Pirate on IMDbPro.
Release Date:
11 June 1948 (USA) See more »
Tagline:
The great MGM musical romance
Plot:
A girl is engaged to the local richman, but meanwhile she has dreams about the legendary pirate Macoco... See more » | Full synopsis »
Plot Keywords:
Awards:
Nominated for Oscar. Another 1 nomination See more »
User Reviews:
Luscious Garland in brilliant farce--one of her very best. See more (51 total) »

Cast

  (in credits order) (verified as complete)

Judy Garland ... Manuela

Gene Kelly ... Serafin
Walter Slezak ... Don Pedro Vargas

Gladys Cooper ... Aunt Inez

Reginald Owen ... The Advocate
George Zucco ... The Viceroy
The Nicholas Brothers ... Specialty Dance
Lester Allen ... Uncle Capucho
Lola Deem ... Isabella

Ellen Ross ... Mercedes
Mary Jo Ellis ... Lizarda
Jean Dean ... Casilda
Marion Murray ... Eloise
Ben Lessy ... Gumbo
Jerry Bergen ... Bolo
Val Setz ... Juggler
The Gaudsmith Brothers ... Poodle Act (scenes deleted) (as Gaudsmith Brothers)
Cully Richards ... Trillo
rest of cast listed alphabetically:
Lola Albright ... Manuela's Friend (uncredited)
Marie Allison ... 'Nina' Showgirl (uncredited)
Anne Beck ... 'Nina' Showgirl (uncredited)

Oliver Blake ... Baker (uncredited)
Wheaton Chambers ... Artist (uncredited)
George Chandler ... Carriage Driver (uncredited)
Bruce Cowling ... Guard (uncredited)
Willa Pearl Curtis ... Black Maid (uncredited)
Peter Cusanelli ... Jovial Civilian (uncredited)
William Edmunds ... Town Clerk (uncredited)
George Emerson ... Boatswain with Parrot (uncredited)
Fred Gilman ... Coachman (uncredited)
Suzette Harbin ... Black Maid (uncredited)
Jane Howard ... 'Nina' Showgirl (uncredited)
Paul Maxey ... Hotel Manager (uncredited)
Jill Meredith ... 'Nina' Showgirl (uncredited)
Aurora Navarro ... Duenna (uncredited)
Fayard Nicholas ... Specialty Dancer (uncredited)
Harold Nicholas ... Specialty Dancer (uncredited)
Jimmy Page ... Black Barber (uncredited)
Sharon Saunders ... 'Nina' Showgirl (uncredited)
Dick Simmons ... Captain (uncredited)
Dee Turnell ... Luisa (uncredited)
Irene Vernon ... 'Nina' Showgirl (uncredited)
O.Z. Whitehead ... Hurtada (uncredited)

Marie Windsor ... Madame Lucia (uncredited)

Directed by
Vincente Minnelli 
 
Writing credits
Albert Hackett (screenplay) and
Frances Goodrich (screenplay)

S.N. Behrman (play)

Joseph Than  uncredited

Produced by
Arthur Freed .... producer
 
Original Music by
Lennie Hayton (uncredited)
Conrad Salinger (uncredited)
 
Cinematography by
Harry Stradling Sr.  (as Harry Stradling)
 
Film Editing by
Blanche Sewell 
 
Art Direction by
Cedric Gibbons 
Jack Martin Smith 
 
Set Decoration by
Edwin B. Willis 
 
Costume Design by
Tom Keogh 
 
Makeup Department
Jack Dawn .... makeup artist
Sydney Guilaroff .... hairstyle designer
 
Production Management
Al Shenberg .... production manager (uncredited)
 
Second Unit Director or Assistant Director
Wallace Worsley Jr. .... assistant director (uncredited)
 
Art Department
Arthur Krams .... associate set decorator
Doris Lee .... paintings
 
Sound Department
Douglas Shearer .... recording director
Norwood A. Fenton .... sound (uncredited)
Van Allen James .... sound editor (uncredited)
 
Stunts
Russell Saunders .... stunts (uncredited)
 
Camera and Electrical Department
Richard Borland .... grip (uncredited)
Jerome Hester .... still photographer (uncredited)
Sam Leavitt .... camera operator (uncredited)
 
Costume and Wardrobe Department
Irene .... costume supervisor
Barbara Karinska .... costume execution (as Karinska)
Eugene Joseff .... costume jeweller (uncredited)
 
Music Department
Lennie Hayton .... musical director
Conrad Salinger .... orchestrator
Roger Edens .... composer: additional music (uncredited)
Wally Heglin .... orchestrator (uncredited)
 
Other crew
Robert Alton .... dance director
Henri Jaffa .... associate technicolor color director
Natalie Kalmus .... technicolor color director
Gene Kelly .... dance director
Conrad Salinger .... instrumental arrangements
Leslie H. Martinson .... script supervisor (uncredited)
 
Crew verified as complete


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Additional Details

Also Known As:
Runtime:
102 min
Country:
Language:
Color:
Color (Technicolor)
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Mono (Western Electric Sound System)
Certification:

Did You Know?

Trivia:
Gene Kelly helped invent a device which allowed the bulky Technicolor cameras to shoot from low angles.See more »
Goofs:
Revealing mistakes: When Manuela and Serafin first meet near the sea, the seam of the backdrop is visible.See more »
Quotes:
Serafin:It's hard to kill an actor.See more »
Movie Connections:
Featured in Glorious Technicolor (1998) (TV)See more »
Soundtrack:
Mack the BlackSee more »

FAQ

This FAQ is empty. Add the first question.
10 out of 10 people found the following review useful.
Luscious Garland in brilliant farce--one of her very best., 23 September 2008
Author: BrentCarleton

Though Gene Kelly is superb as the athletic strolling player Serafin, and is given some of the best dancing opportunities of his career, this is Miss Garland's film all the way. And what a film! How strange that it isn't better known.

In one of their rare moments of scenic largesse, Metro released Garland from the small town confinements of Hardy--ville, and/or the sweet girl who makes it to Broadway with the corn stalks still in her suitcase, and gave her something of genuine wit and sophistication.

For here, she is Manuela Alvarez, of the colonial Virgin Islands, a well born, cloistered 19th century maiden, (presumably convent educated, i.e., Gladys Cooper to Judy, "...we'll take refuge in the church!") whose only psychic escape from her self enclosure consists in fantasizing about the notorious pirate, "Mack the Black Macoco." That she is tricked into believing a dashing actor, Serafin (Kelly) is the real Macoco, while in fact he is none other than her lumpy affianced, Mayor Dom Pedro (Walter Slezak) is the spindle upon which this cinematic yarn spins its glories.

And what phantasmagoric glories they are! This ranks with "Yolanda and the Thief," (sorry "American in Paris" fans) as Mr. Minnelli's most accomplished Technicolor visual achievement. For working with Jack Martin Smith, he concocts a Caribbean sea port a swirl with color and characters--one can almost smell the salt air a waft with spice and languor, and including as well: a quay brimming with turbanned negroe vendors, a village of Salmon and off white stucco walls, and black filagreed wrought iron against a cerulean sky, and bevys of extras dressed in a fortune worth of rainbow colored moire, velvet and brocade flounces, furbellows, snoods, and gauntlets. The shaded interiors are replete with empire furniture, carved ebony, and bamboo blinds and palmettos.

The effect is dreamlike in an operetta sort of way and deliberately so. A storybook come to life but one which successfully combines the conventions of 19th century aristocratic propriety, (in which young women of quality do not walk out without their duennas) against 20th century show biz colloquialisms to great effect, (one thinks here of Mr. Kelly's delightful reference to a review in the "Trinidad Clarion comparing him to David Garrick","No Noose is Good Noose," and "You should try underplaying sometime."

The players are at the top of their form: Mr. Kelly is in full command of his powers here: his partnering with the Nicholas Brothers in "Be a Clown," as well as the "Pirate Ballet" (in which he pivots with a javelin against a cinnabar sky lit with explosions) almost literally take ones breath away.

But it is in "Ninia" that he achieves the most felicitous display of solo Terpsichore, with Robert Alton's choreography, Harry Stradling's fluid boom camera following his cat like moves over up and through the town, and the delightful Cole Porter lyric and melody, culminating in flamenco steps with torrid and tempting MGM contract dancers in and through the striped poles of a circular gazebo.

Of Miss Garland enough cannot be said. No more Betsy Booth! Manuela offers her a chance to broaden her range in a direction in which (sadly) she would never venture again.

Here her exasperated intonations wring humor out of every line and situation, "Oh Casilda I do wish you were a little more spiritual!" or "Do you call it fun to live in a tent? to go hungry ?, to be looked down on by all decent people?!" give full vent to the drollery the script affords. Indeed, she channels her trademarked nervous energy into her character in such a way, that she, (as "Parent's Magazine" noted in its review) gently spoofs some of her earlier film characterizations. Thus we get the Dorothy like: ("I know it, something dreadful is going to happen, something dreadful...") It's a performance that one cannot simply imagine any other actress playing. Thus, she claims the role and makes it her own.

And who can forget the scene where she pretends to believe Serafin is Macoco once she has discovered the deception, "I can see us now, you with your cutlass in one hand and your compass in the other, shouting orders to your pirate crew, and I, I spurring you on to greater and greater achievements, won't that be magnificent?!" to which she pounds her fist against the table with sugar dipped venom.

Musically she is also a delight from start to finish.

Moreover, she has never been seen to such pictorial advantage in the post war period as she is here, gowned by Tom Keogh and Madame Karinska in one of the most arresting (and beaded!) wardrobes she ever wore on screen, and just as importantly, effectively coiffed throughout, (most particularly in the "Love of My Life" sequence where she is adorned with a coral diadem and matching earrings.)

Similarly, her close-ups are meltingly lovely, such as the nightgown clad scene wherein she begs Gladys Cooper to take her to Port Sebastian, "I'll make him a good wife Aunt Inez--really." (what a vision in feminine charm she is here!) or slightly later when, clad in a broad brimmed straw hat she gazes upon the Caribbean, or perhaps best of all, with a conch shell at her ear, and under hypnosis, she whispers of Macoco to dazzled interlocutors.

Supporting players are top of the mark, and it is interesting to see Garland interact with Gladys Cooper and horror veteran George Zucco.

After it was completed, MGM relegated Garland back to formula vaudeville hokum, but thankfully "The Pirate" was already in the can. Musical film scholar Douglas McVay has declared it to be the best musical film of 1948. He's right. See it to find out why.

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